A surprisingly quiet concert, one that requires a very high level of listening quality, due to its low volume and numerous moments of near-silence. At first, the concert was planned for the trio of Alexey Lapin (piano; his first performance outside Russia), Melvyn Poore (tuba) and Matthias Schubert (tenor sax). Percussionist Roger Turner, being in town, was drafted at the last minute. And flutist Helen Bledsoe sat in for the second set. Delicate free improvisation, often arid, extremely ethereal. I’m not focused enough this morning to get into it, but I trust Red Toucan director Michel Passaretti: if he released this, then there must be something I missed. I’ll listen again at a later date.

Now, I’m getting into this one a lot more. This concert was recorded in December 1994, but is just out on FMP. It features Swedish saxman Mats Gustafsson and Germans Günter Christmann (cello and trumpet) and Paul Lovens (percussion). Lively, intelligent, complex but engaging. Lovens always wows me with his speed, sens of dialogue, and fanciful finesse. And Christmann’s playing was unique back then.

Hans-Joachim Roedelius’ third solo album, first released in 1981, now reissued by Bureau B. This is a very acoustic record. The music is akin to chamber music, but of a kind very similar to what Anthony Phillips has developed over the years through his Private Parts & Pieces series. The same serenity, the same ultra-personal style, the result of a self-taught process. Very pretty and, to my ears, stronger than Jardin au fou.

A unique and efficient collaboration between Guru Guru’s Mani Neumeier (drums) and Ax Genrich (guitar), and long-time Univers Zero bassist Guy Segers. Psy Valley Hill is an improvised rock record with a strong psychedelic component and Krautrock leanings. Often slow, rather heavy, with experimental stretches. Not brilliant, but skillful, and with all hearts in the right place.

Why was I sent this CD? It’s bar-style rock ‘n’ roll, the straightforward kind. Fine singer (strong The Cult influence), trite rhythm section, predictable songs – the kind of rock music that qualifies as indie only because it hasn’t been signed by a major… yet (and Judge Jackson could end up signed by a major, at least they do everything they can to get signed, musically). Pass.

Released in 2008 but recently acquired. Very nice, very different. I like bands who dare to reinvent themselves like this, who care to grow, evolve. The acoustic piano and voices (Jarboe’s and Alexander Tucker’s) are more than mere add-ons: they are integrated to the group’s instrumental profile. The mood is still dark but the sound us cleaner. I’m thinking of a cross between Five Suns-era Guapo and Bohren und der Clüb of Gore. I’ll be listening to this several times. Atmospheric, progressive (lowercase “p”!) rock, meant to be heavy, not leaded.